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021 729 212 8 



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ICiQAln^t/jL^ ZEUBLIN'S '2.0 

(pit/?. /^ 

SHORT AND EAST METHOD 



TEACHING COMPOSITION, 



RENDERING IT 



SHOET, EASY AND PEACTICAL, 



INSTEAD OF THE MOST lEKSOME TASK IN SCHOOLS. 



1^ 



AUTHOR OF '^ OUTLINES OF LETTER WRITING. 



He wlao rendersi his work as brief and practical as possible, should b© 
deemed a benefactor of his race. 

" The jfANNER is as important as the matter." — Chesterfield. 



CINCINNATI: \sc^"'2:q-o 

PRINTED FOB THE AUTHOR. xN^of vvas 



Z0^]\ 



1861. 



t^ 



PREFACE. V^'4^-. 



This is difast age. It is an age in which we try in how short a 
time we can correctly accomphsh anything. Hence, if we write a 
book, try how short it can be written; if we teach Composition, in 
how short a time it can be taught ; and if we study it, in how short 
a time we can acquire a knowledge thereof 

That Composition is one of the most irksome tasks for teachers 
and scholars, needs only to be named. Therefore a work which 
briefly obviates this difficulty, facilitates study, and abridges and 
saves time, should be prized as one of the most desirable, and great- 
est literary achievements ; and should be liberally patronized by 
teachers, parents and scholars. 

The want of a system of natural Classification of Parts, Qualities, 
Uses, EflPects and Relations of a Composition as given on the left 
hand margin of the Composition on the 7th page, has greatly embar- 
rassed and retarded the progress of the student. 

The utility of contrasting forms of Composition, as given on the 
6th and 7th pages, will doubtless be obvious to, and duly appreciated 
by every intelligent teacher and scholar, as one of the most speedy, 
Sttccesslul and impressive modes of teaching. 

The erroneous Composition on the Gth page is deemed to be a 
truthful representative of a large proportion of the compositions 
now written in our schools ! It is hoped, however, that its influence 
will soon render it obsolete as a representative of what is, only of 
what was. 

The ARRANGEMENT of the different paragraphs or clianges of a 
subject, as in the corrected Composition on the 7th page, has hith- 
erto been almost entirely neglected in teaching Composition in our 
schools, although there is not a book nor newspaper printed without 
observing it ! The beauty, convenience and advantage of this is 
obvious, by comparing the Compositions on the (ith and 7th pages. 

The ruled or black lines on each side of the Composition on the 
7th page are designed to teach scholars to write all their lines of a 
paragraph or cliange. of a subject exactli/ the same length as in a 
printed book, excepting the line that begins or ends a paragraph or 
change of subject, or even the subject itself 

The work is not designed to supersede more elaborate works on 
Composition, but be auxiliary to them. 

The author anticipates that the work will prove a great auxiliary 
and advantage to youth in writing Compositions, and prove a me- 
mento, as his " Outlines of Letter Writing " has already done, that 
he has successfully contributed his mite towards elevating and refin- 
ing society. 

Cincinnati, 0., 1861. 



Entered according to Act of Congress in the year 18G1, by D. ZEUBLIN, in 
the Clerk's Oflficc of the District Court of the United States, for the Northern 
District of Ohio. 



OUTLINES OF COMPOSITIOK". 



Composition, from two Latin words, signifies to put together. 
Hence when we speak on any subject, we mean the pntting together 
of the thoughts which belong to the subject. There are many 
thoughts belonging to every subject which should be so put together 
that they will appear to follow each other in a natural order; for in 
one sense, composition is the art of forming ideas, and expressing 
them in the most natural and appropriate written language. 

In writing a Composition, the first thing necessary is to obtain 
ideas; the second, the proper expression of them; and the third, 
the proper arrangement of them. 

In acquiring ideas, we must accustom ourselves to make observa- 
tions; and not only notice entire oh^eciB, but also their different 
parts, qualities, uses, effects and relations to olher things. 

The chief elements of a Composition are clearness, unity, strength 
and harmony. 

The most obvious and natural divisions of subjects are the Narra- 
tive, the Descriptive, the Didactic, the Pathetic, the Persuasive and 
the Argumentative. 

The style may be deemed plain, neat, elegant, flowery, brief, copi- 
ous, strong, simple, aff"ected, barren, fruitful, cold or violent. 

It would be absurd to attempt to give rules by which all the 
departments of Composition should be governed, as genius cannot be 
fettered, but must be left to soar or amplify as nature shall dictate. 
However, to acquire a ready and correct expression of our ideas in 
writing, is one of the greatest literary accomplishments ; and, when 
properly illustrated, is much easier attained than is generally imag- 
ined. 

Whatever width you want your border, indicate it by drawing 
light lead lines, as represented by the ruled lines on each side of the 
Composition on the 7th page. Be careful not to rule higher up 



4 OUTLINES 0? 

than the first blue or ruled line of the sheet at the top ; nor closer 
to the bottom of any page, than on next to the last line, which will 
give yoa about as much border as at the top. Tbus you will have a 
border at the top and bottom, and also on each side of your page, lik© 
around the printed page of a book. 

Always write the title or name of your Composition on the first 
ruled line of the firat i^agc of the sheer, and esactly in tlie muldle of 
the page, and in a large hand as on the first line of the Composi- 
tion on the 7th page. 

Let the i^ccond ruled line a blank, or if you prefer it, draw a plain 
or fancilul black line on it, about two-thirds as long as the title of 
your composition, and right under the middle of it. Let also your 
tliird ruled line a blcoik, and be careful not to draw a plain or orna- 
mental line on it. By thus reserving blank lines at the begioning 
of a composition, they greatly beautify its appearance. 

Begin your composition on the fourth line, about half an inch in 
from the ruled line, observing to write the first word thereof in 
round hand, or a size between small and large hand, as in the first 
word '-Glass" of the Composition on the 7th page. 

Wherever a paragraph or chamje of subject occurs, as in the 4th 
line of the Composition on the 7th page, begin the first v.'ord exactly 
as far in from the lead line as you began the word "Glass'' on the 
first line, and so also begin every paragraph exactly the same dis- 
tance from the lead line. 

Write every line of a composition exactly the same length, except- 
ing the line that begins or ends a paragraph of a subject. Of course 
lines of poetry interspersed will be shorter than those in prose, and 
should be inserted right in the middle of the page from eitlier side. 

Where you cannot get an entire word in a line, be careful to di- 
vide it properly into syllables, observing to put a hyphen or dasli at 
the ri'jJU hand side onl^i/, to indicate that the remainder of the word 
is on the next line below and at the left hand side of the page, as in 
the Composition on the 7th page, at the end of the fifth and sixth 
lines, in the words "durable'' and "impenetrable." It is immate- 
rial where the last line of a paragraph ends, as it may contain only 
part of a word ; an entire word ] a quarter, half or whole line, as in 
the 15th or 20th line. No matter where your paragraph ends, begiji 
your next paragraph in as far from the lead line on the left hand 
side of the page as the word " Glass" is began in on the first Inie of 
the Comp -sition on the 7th page. 

Punctuate your manuscript as carefully and correctly as though 
it were designed to be prin ed Tf e better plan for punctuating is 
not to do it as you are v/riting, but while reviewing or reading it over 
after it shall have been written. In this way you can much easier 
ascertain the sense and punctuate correctly, than while writing. 

When writing for the press, if you wish to indicate Italics, under- 
score one line; for small capitals, two lines, and for large capitals, 
tJinui lines. 



eoMro.siTiON, 



\ 



Before teaching a pnpil to write a composition, he .should be 
taught to enumerate and classify Objects, their Parts, Qualities, Uses, 
Effects and lleiations to other things, as in the following Examples : 

OBJECTS AND THEIIl PAKTS. 



A SCHOOL HOUSE. 

Its Parts are The walls, The doors. The desks, 
The inside, The windows. The seats, 
The outside, The rooms, The black-boards, etc. 

In the same manner write the parts of the following objects : 

A book, A map, A tree, 

A sLte, A church, A horse, etc. 

OBJECTS, THEIB QUALITIES AND USES. 



GLASS. 

Its Qualities are solid, durable, inSexible, 

smooth, brittle, impenetrable, 

hard, water-proof, uninflammable, 

transparent, fusible, useful, etc. 

Its uses are For windows to admit light; 
For bottles to contain liquids; 
For lanterns and lamps to give light; 
For spectacles to assist sight. 

In a similar manner write the Qualities and uses of the following 
objects : 

A pump, A dress, Wood, 

A mill, Paper, Water. 

WHAT IS NOT A COMPOSITION. 

Lottie Burr is a good girl ; the Sunday School is a good insti- 
tution; temperance promotes health. 

The above is not a Composition, because the thoughts are notpw^ 
together, or connected with each other. 

WHAT IS A COMPOSITION. 

Lottie Burr is a good girl, and attends Sunday School; she 
practices temperance, and therefore enjoys health. 

The above is a Composition, because it connects the three thought* 
together in a natural order. 



OUTLINES OF 



~^///as-^ /'a ^/aimec/ c/ dand ana a/Aait'ed. U/iey ale /n// 
laaetne^ inlo an tnlen^elY '^^€<^ed 4tctnace unii^ Mey 
ate ^neiiea ■^oae^i.e^r^ ^ i'^ ^«^ <aotca^ ^orioolfij /iata^ Izand/i 
azen^^ (/coia/£le^ L^u'^ae /f'l^t^e'i/i'ioofjfiCdcMej t^jfCexpO^ 
i^n/iene'l'iav-ie J ana ancn4ta')7t9naMe. J'i i6- codea /o9^ 
a(/cnao2i^d ^o aaonU ita/ilj ^O'T- tfame^ ^a co^nlat/n uame/d, 
400^ ■liomCieZd /^ dzcnA at^U o^j 407-^ lan^zend ana 
ian7/idj ^a aive .ti^ca/il^ ana /a^r dAeclacud ^a addcd^ dt- 



a'/i€y in t(/&ndozi/^ tl exctioded co/d and 
^a?2le^nd il /iiolec^d co?7t'^adlaL'ied dacri ad nay- 
a/id dhaWj 4i(}7n ^czej <^ m d/ieciided il enaMed efdei 
t7^ /le^dond ^0 '^6 a/mad^ad adefcol as tf/nen c/atona. 
ete ^ n&^4a7^ atadd in ociT' u^mdotad^ tc/e duoutd 
v-e dumecled ^o azea^ incanv-enience io if/az^ oz ^eaa in 



OUT' noadcd. J^4 ii/e nad no <iy /le dieted _, otd /le'idond^ 
li/otud iead a du/l], u^zAdO'?ne ti/^j ic/?2ati/e /'a 4ouow 
any udeitU a^'ocaAon 



COMrOSITlUX 



^mm.i. 



aze ail /uU loae-me'?'^ ifda an {.n^ende-l'u 



Qua! 



/leaded ^i?tace unlU Ine^i- aze ?nei-^ed ^oac^AcT^. 



Eff. 



J' I cd dolod^ -sinoolAj /la^dj lia^n-j/iadsn^j, da/za-^\ 
Vide J t^i&^6j t(/ale7'-/i'Zoo^j ^cMmiCj in4-Cea:cOiej t9n/ien-\ 
el^a'ule a9id antnMa'jnT^tame. 

d^^ M tided /o'}^ if/cndau/d;, lo ad'?7^U Ua/Uy /o^ 

t^o-du6dj ^ cG7ilac7z uac&idd- / /aT^ ^a?7iMetdj, /^ dztnA, 

oiil o<^y dc'T lanle'Zfid and ia??i/id^ lo atve Ar/Al/ 

\a9id doT^ d/iec^aciedj /<? addidl dcan^. \ 

J^^Ti ic'cndowd d exeuoded c&td and ^atny i/n\ 

I 

lan^eznd d /I'Za^ecld coTnd'cid^i-O'ied ., dioc/t ad na^u and 
d^aii/ 4za'm doze y a?id in d/zeclacled d cnaMsd 
eidei/?^ 
'uoiina. 



Rel. 



^dand lo ie ad^nadl ad tidefid ad iimen 



rr&ze' d nal ^^ cdadd t/n cn-r^ ti/t/ndo 



^c?^ cdadd i/n dcr^ wt/ndowdj t(/e 



m-oudd t^e dici^feoled ^a aieal {m,ccnvencence /<? wo'Z^ 
d en oaT' nauded. d^^ tt/e nad no- d/iec^a- 



OT^ leaa t^n 



'ze-Zdo-nd tt^ou 
^o /at/o 



d 



eaa a 



otne u 



lonaMe Co ^aUcia- anu tzdepid a^vocalzom'^ 



OUTLINES OF C0MP0SIT10^^ 



EXPLAi\'AT10NS OF THE COMPOSITIONS Ox^^THE TWG 



LIBRARY OF CONGRESS 



021 729 212 8 



ERRONEOUS COMPOSITION ON THE GXH PAGE. 

This Composition is intentionally written wrong, so as to exhibit 
the disadvantage, inconvenience and want of beauty in an errone- 
ously written composition. 

It is wrong in the following particulars : The heading or title, 
" Glass," is at rmc side, instead of in the midiiln of the page, and 
the word is written in smrdl hatjd or the sccine sized letters that the 
composition is, instead q^ large hand; the capital letters are omitted 
in proper, and used in improper places; the words are not all written 
an equal distance apart, and some of them are not divided into i^ijl- 
lahlrA properly at the riglit hand side of the page; short or capital 
^^<fe" is seldom used in a composition; the sentences are Vv'ritten 
too closely togcibpr as the vrord "houses" at the -/^r/ of one srntcr.ce, 
and the word "If" at the Ix-ginnivg of another in the 16tli line; 
the punctuation is used in improper, and omitted in proper places; 
there is no hyphen or dash used at the right luind side of the page 
where parts of the word are on two different lines at opposite sides 
of the page; the orthography is erroneous; the lines are of unequal 
length on the right hand side of the sheet; and the different para- 
gr;)phs or changes of the subject are not properly arranged or sepa- 
rated. 

CORRECTED COMPOSITION ON THE TtH PAGE. 

This Composition is designed to represent a well written and 
ARRANGED compositition, in which all the different paragraphs or 
changes of a subject are properly arranged or separated so as to be 
easily referred to, or distinguished one from another, which is one 
of the most important particulars of a composition. 

The student should next write compositions in a similar manner on 
a pump, mill, dress, etc., as suggested on the 5th page, until he 
shall have become familiar with this manner of writing. It is hwped 
he will not deem himself an adept in writing cumpo.-itions already, 
but merely acquainted with the proper manner, and in part with 
the matter also, and that he will now commence the study of more 
elaborate works on Composition, always observing the proper and 
neat manner of arranging paragraphs or changes of subjects as on 
the 7th page of this work. For more ample instructions on arrange- 
ment of a Composition or Letter, see my "Outlines of JiCtter Wri- 
ting," a work costing only 25 cents, but worth dollars to the credit 
of a family in epistolary correspondence. 



THE END. 



LB /y-i^ 



\ 



LIBRARY OF CONGRESS^ 

021 729 212 8 



HolUnger Corp. 
pH8.5 



